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Giving Weight

by Rich Sbardella via Callers

How do you descibe giving weight, and how do you teach it for circles, allemandes, and, swings? Rich Stafford, CT

9 years, 12 months

content of introductory lesson

by Dave Casserly via Callers

Hi all, I've included John's comments below, but thought I'd start a new thread on introductory lessons, which is sort of the bigger picture of what we talk about when we talk about a caller teaching the swing. I don't call much, but I still teach introductory lessons before weekly dances every now and then. In my community, it's pretty common for local callers (or even some local dancers who aren't callers) to teach the lesson when there's an out-of-town caller booked for the night. I think this system has advantages and disadvantages: as an organizer, I like being able to control what goes in the lesson, since, as discussed below, I have some fairly strong opinions on what makes an introductory lesson welcoming and successful, but if I were a traveling caller calling my home dance, I would feel at a disadvantage if I could not tailor the lesson the program I intended to call. So, what do you all focus on when teaching the lesson? It seems from the previous thread that there are several approaches: - teach the moves that are most difficult for dancers to get (right and left through, ladies' chain) - teach the moves in proportion to how many times you call them during the night (swing, allemande, circle) - teach the moves that will mess you up the most if you don't do them right (half promenade across, half chain, half anything, really) - teach skills, such as sharing weight My approach is really to do none of these. I do teach dancers how to share weight, and generally teach it in the context of a circle, then a two hand walk around with one other person, then a buzz-step swing. If I have time after that I may quickly go through a few other moves, but I don't consider that a necessity. Instead, what I focus on is teaching newcomers to dance with a variety of partners, ask experienced dancers to dance, listen to the caller, look up for help when lost, and clap to show their appreciation for the performers at the end of each dance. I tell them explicitly what I think is most important and what I am there to help them get out of the night: I want nobody to get hurt, and I want them all to have a good time. At the end of the lesson, I will even try to point out experienced dancers who I think the newcomers should dance with at some point. I tell the newcomers that they should dance each dance with a different person, that it is totally fine to sit dances out if they need a break, and that if somebody asks them to dance but they don't want to dance with that person, simply say "no thank you." I also identify members of the dance committee who are in the room in case they have any questions at all or have any problems during the dance, and again stress to them that we are here to help them have a great time. The way I view it, if I teach 20 moves in a 30-minute lesson, the newcomers will not remember those moves after an hour of dancing. If I teach them that the community is committed to ensuring they have a safe, fun dancing experience, and that experienced dancers will help them through the rest, I think that is 90% of what helps newcomers get the most out of their first dance. Obviously, my view of how the lesson should be only works in communities with a lot of experienced dancers. I'd never be able to get away with teaching a lesson without telling anybody what an allemande is if the hall is full of beginners. -Dave Washington, DC On Tue, Jun 23, 2015 at 2:13 AM, John Sweeney via Callers < callers(a)lists.sharedweight.net> wrote: > Thanks for all the great ideas/ > > > > Yes, I should say gallop instead of skate-board – I start with “Now walk > fast on the spot” before I tell them to turn, so I assume they are going to > keep alternating their feet, but some don’t! Maybe “gallop” will help. I > did get one guy at a workshop tell me that he had been taught to keep one > foot fixed on the floor on a single spot. I showed him what would happen > if we both did that – in slow motion, otherwise it could have been quite > painful J > > > > Ron asked, “Okay, so what about my first comment: Not everyone is > physically able to do the buzzstep swing?” > > > > Well, my first statement was “Yes, of course I always tell dancers that > they can walk instead of buzz” and the last line of my sample teach was, > “If you are having trouble with the buzz-step then you can always just > walk.” > > > > So I thought I had covered that. Sorry if I have misunderstood. > > > > At one of the weekly sessions I run we get around 25 to 30 people each > week; most of them are ladies, and the ages range mainly from 50s to > mid-80s. We provide badges saying, “Please swing gently” and we tell them > they can walk. I always teach the buzz-step and they all try it. Most of > them carry on doing a buzz-step and very few wear the badges after the > first few weeks once they have got used to swinging. > > > > They also love my no-swing contras – they don’t need swings to have fun! > > > > Ron also said, “The single most important thing to teach a dancer is "it's > okay to make mistakes".”. I agree that that is important and we joke about > the mistakes a lot. Sometimes they have the most fun when they fail > completely! > > > > But my Rule #1 is: > > “Every dancer has the right to get on the dance-floor and have fun without > getting hurt.” > > > > I have been hurt a lot on the dance-floor. I used to dance Ceroc/Modern > Jive three or four nights a week. You know the way that some people yank on > you when they step back in the Balance before a swing? Well in Modern Jive > you step apart about once every eight steps, and the general level of > technique teaching at Modern Jive classes is very low, so most of the > dancers have never been told that they shouldn’t pull when they step back. > In fact some of the <expletive deleted> teachers actually tell them to pull > to generate tension, without mentioning that the level of tension required > is around the one ounce level, not the one ton level! So I ended up with > repetitive stress injuries which weakened my muscular infrastructure and > when an aerial move went wrong in a practice session I ended up tearing one > of my rotator cuff (shoulder) muscles badly. > > > > Aerials: https://www.youtube.com/watch?v=CJnL_Y63AnY – that’s me in black. > > > > So, having had two shoulder operations, and not wanting any more, if my > partner appears to be about to throw their whole weight at me when they > step back in a Balance & Swing then I step forward to prevent it. (Once > having asked a lady to stop pulling on the step-back as she was hurting me, > and failing to get through to her, next time we stepped back I pulled on > her. She immediately got cross and said I had hurt her. The irony appeared > to be completely lost on her!). And if a lady leans back in a swing then I > move my hand from her shoulder blade to her waist so she has to stand up or > fall over! I have learnt a lot of self-defence skills over the years! > > > > I recently ran a “Contra Skillz – Style and Technique” workshop at a UK > festival and the experienced dancers loved it – most of them do want to > improve and do want the caller to do some teaching. (Of course, they > self-selected by attending the workshop in the first place!) > > > > One of the guys is a very good dancer, but my wife, Karen, complained that > his swinging was far too forceful; he was rigid and using too much power. > The first thing I taught in the workshop was that most people will swing > better if they relax. Next time she swung with him, he was, as usual, > rigid, but, because I had empowered her by teaching relaxation, she felt > able to say, with a big smile, “And relax <she breathed out>” – he did the > same and suddenly turned into a wonderful swing partner. She heaped on the > praise and he felt good that he was giving Karen a better swing. > > > > I agree with Tom that we all have different perspectives and so we > approach things differently. That is a good thing as far as I am > concerned. If all callers ran their evening the same way then the dancers > would get bored. Different approaches help different people, and give the > variety needed to keep the dance alive. > > > > My perspective is based on learning the Galway Swing from my Irish mother > when I was a teenager (take an Allemande Right hold, each of you cup your > left fingertips around your partner’s right elbow, buzz – great fun!), so I > have been buzzing for fifty years and would always choose it. But of > course I walk if I or my partner is tired, or if my partner can’t cope with > a fast swing, or if they are such a bad swinger that I need to slow the > swing down to avoid damage. Though actually you can do a slow, controlled > buzz-step swing and that can feel great too. > > > > I also agree that programming is crucial to a successful evening. Apart > from avoiding overuse of particular moves or sequences, providing variety, > and trying to include something a bit different, I am also building the > move set slowly so that newcomers get to a point where they can do great > dances later in the evening because they have seen all the bits already. > > > > The Right & Left Through is such a counter-intuitive move that I often > leave it out completely. If I need it for a particular dance then I can > change it to a Half Promenade. I certainly never spend time teaching it in > a beginner’s workshop unless I am planning to use it multiple times in the > evening. > > > > Thanks again for all the great ideas in this thread. > > > > Maybe I should stop rambling now… J > > > > Happy dancing, > > John > > > > John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 > 940 574 > > http://www.modernjive.com for Modern Jive Events & DVDs > > http://www.contrafusion.co.uk for Dancing in Kent > > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > > -- David Casserly (cell) 781 258-2761

9 years, 12 months

Re: [Callers] Buzz Step Swing

by John Sweeney via Callers

Thanks for all the great ideas/ Yes, I should say gallop instead of skate-board - I start with "Now walk fast on the spot" before I tell them to turn, so I assume they are going to keep alternating their feet, but some don't! Maybe "gallop" will help. I did get one guy at a workshop tell me that he had been taught to keep one foot fixed on the floor on a single spot. I showed him what would happen if we both did that - in slow motion, otherwise it could have been quite painful :) Ron asked, "Okay, so what about my first comment: Not everyone is physically able to do the buzzstep swing?" Well, my first statement was "Yes, of course I always tell dancers that they can walk instead of buzz" and the last line of my sample teach was, "If you are having trouble with the buzz-step then you can always just walk." So I thought I had covered that. Sorry if I have misunderstood. At one of the weekly sessions I run we get around 25 to 30 people each week; most of them are ladies, and the ages range mainly from 50s to mid-80s. We provide badges saying, "Please swing gently" and we tell them they can walk. I always teach the buzz-step and they all try it. Most of them carry on doing a buzz-step and very few wear the badges after the first few weeks once they have got used to swinging. They also love my no-swing contras - they don't need swings to have fun! Ron also said, "The single most important thing to teach a dancer is "it's okay to make mistakes".". I agree that that is important and we joke about the mistakes a lot. Sometimes they have the most fun when they fail completely! But my Rule #1 is: "Every dancer has the right to get on the dance-floor and have fun without getting hurt." I have been hurt a lot on the dance-floor. I used to dance Ceroc/Modern Jive three or four nights a week. You know the way that some people yank on you when they step back in the Balance before a swing? Well in Modern Jive you step apart about once every eight steps, and the general level of technique teaching at Modern Jive classes is very low, so most of the dancers have never been told that they shouldn't pull when they step back. In fact some of the <expletive deleted> teachers actually tell them to pull to generate tension, without mentioning that the level of tension required is around the one ounce level, not the one ton level! So I ended up with repetitive stress injuries which weakened my muscular infrastructure and when an aerial move went wrong in a practice session I ended up tearing one of my rotator cuff (shoulder) muscles badly. Aerials: https://www.youtube.com/watch?v=CJnL_Y63AnY - that's me in black. So, having had two shoulder operations, and not wanting any more, if my partner appears to be about to throw their whole weight at me when they step back in a Balance & Swing then I step forward to prevent it. (Once having asked a lady to stop pulling on the step-back as she was hurting me, and failing to get through to her, next time we stepped back I pulled on her. She immediately got cross and said I had hurt her. The irony appeared to be completely lost on her!). And if a lady leans back in a swing then I move my hand from her shoulder blade to her waist so she has to stand up or fall over! I have learnt a lot of self-defence skills over the years! I recently ran a "Contra Skillz - Style and Technique" workshop at a UK festival and the experienced dancers loved it - most of them do want to improve and do want the caller to do some teaching. (Of course, they self-selected by attending the workshop in the first place!) One of the guys is a very good dancer, but my wife, Karen, complained that his swinging was far too forceful; he was rigid and using too much power. The first thing I taught in the workshop was that most people will swing better if they relax. Next time she swung with him, he was, as usual, rigid, but, because I had empowered her by teaching relaxation, she felt able to say, with a big smile, "And relax <she breathed out>" - he did the same and suddenly turned into a wonderful swing partner. She heaped on the praise and he felt good that he was giving Karen a better swing. I agree with Tom that we all have different perspectives and so we approach things differently. That is a good thing as far as I am concerned. If all callers ran their evening the same way then the dancers would get bored. Different approaches help different people, and give the variety needed to keep the dance alive. My perspective is based on learning the Galway Swing from my Irish mother when I was a teenager (take an Allemande Right hold, each of you cup your left fingertips around your partner's right elbow, buzz - great fun!), so I have been buzzing for fifty years and would always choose it. But of course I walk if I or my partner is tired, or if my partner can't cope with a fast swing, or if they are such a bad swinger that I need to slow the swing down to avoid damage. Though actually you can do a slow, controlled buzz-step swing and that can feel great too. I also agree that programming is crucial to a successful evening. Apart from avoiding overuse of particular moves or sequences, providing variety, and trying to include something a bit different, I am also building the move set slowly so that newcomers get to a point where they can do great dances later in the evening because they have seen all the bits already. The Right & Left Through is such a counter-intuitive move that I often leave it out completely. If I need it for a particular dance then I can change it to a Half Promenade. I certainly never spend time teaching it in a beginner's workshop unless I am planning to use it multiple times in the evening. Thanks again for all the great ideas in this thread. Maybe I should stop rambling now. :) Happy dancing, John John Sweeney, Dancer, England <mailto:john@modernjive.com> john(a)modernjive.com 01233 625 362 & 07802 940 574 <http://www.modernjive.com> http://www.modernjive.com for Modern Jive Events & DVDs <http://www.contrafusion.co.uk> http://www.contrafusion.co.uk for Dancing in Kent

9 years, 12 months

Fwd: Buzz Step Swing

by Read Weaver via Callers

But keep in mind that no beginner _ever_ does a walking swing, unless that is specifically taught, and usually not even then. They see and/or feel that others are doing a double-time step so they do one too, and since the swing is a clockwise (to-the-left) circle they lead with their left, hence a slipping step rather than a buzzstep. (Either that or they skip.) When I do an actual beginners’ workshop I teach both walking and buzzstep swing, but for something quick on the floor, I think teaching the buzzstep gives better results. Read Weaver Jamaica Plain, MA http://lcfd.org On Jun 20, 2015, at 10:28 AM, Lindsay Morris via Callers <callers(a)lists.sharedweight.net> wrote: > > John, respectfully, I have to disagree with your disagreement. A simple walking swing works just fine even when the other person is doing a buzz step. > > The HUGE problem that I see with beginner lessons is that people stand around bored while the teacher talks and talks. All the air goes out of the room. Keeping the beginners moving is job number one. > > So, I have them do a right elbow swing, to get the body dynamics right. Then maybe 30 seconds of talking about ballroom position, have them do a walking swing, a moment on how to balance, and they are good for the night. Especially if they get to practice that with three or four different people during the lesson. > > I can move a competent newcomer from walking-swing to buzz-step swing during the dance, just with "look at my feet." > > Always appreciate the perspectives on this list though. > >> On Jun 20, 2015, at 5:16 AM, John Sweeney via Callers <callers(a)lists.sharedweight.net> wrote: >> >> Dale said, "Don't teach advanced techniques to new dancers. Forget the buzz >> step." >> >> Sorry, but I must disagree most strongly. >> >> In an average evening of contra dancing you will spend nearly thirty minutes >> swinging (if the dances are in the Modern Urban Contra Dance style rather >> than the older styles). >> >> I think it is incredibly unfair to a newcomer to make them suffer for thirty >> minutes rather than teach them how to swing. They can also cause a lot of >> suffering to whomever they are swinging with if they have lousy technique. >> >> I would not agree that it is advanced either. I strongly believe that a >> couple of minutes teaching the basics of a buzz step swing will give >> everyone a much more enjoyable evening. Some of them won't get it, but for >> those that do it can completely change their experience of the evening. >> >> Happy dancing, >> John >> >> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 >> http://www.contrafusion.co.uk for Dancing in Kent

9 years, 12 months

Fwd: Buzz Step Swing

by Read Weaver via Callers

In my beginners’ workshops, that is how I teach buzzstep: after teaching giving weight in a large circle, I have folks give weight in a large circle while galloping. I break up the circles into successively smaller circles and then into twosomes (with a two hand hold), keeping the galloping & giving weight (and then explain that we contra folks call that buzzstep). Read Weaver Jamaica Plain, MA http://lcfd.org > On Jun 21, 2015, at 12:34 PM, Bob Green via Callers <callers(a)lists.sharedweight.net> wrote: > … > I have never tried teaching the buzz step out of ring around the Rosie, but I think I will try it next week.

9 years, 12 months

Re: [Callers] Buzz Step Swing

by John Sweeney via Callers

Dale said, "Don't teach advanced techniques to new dancers. Forget the buzz step." Sorry, but I must disagree most strongly. In an average evening of contra dancing you will spend nearly thirty minutes swinging (if the dances are in the Modern Urban Contra Dance style rather than the older styles). I think it is incredibly unfair to a newcomer to make them suffer for thirty minutes rather than teach them how to swing. They can also cause a lot of suffering to whomever they are swinging with if they have lousy technique. I would not agree that it is advanced either. I strongly believe that a couple of minutes teaching the basics of a buzz step swing will give everyone a much more enjoyable evening. Some of them won't get it, but for those that do it can completely change their experience of the evening. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

10 years

Having settled the geography debate, lets move on to entomology

by Luke Donforth via Callers

The recent discussion about California versus Nevada twirls and all the related variants suddenly flashed through my mind when I was writing this dance: Whipped Butter by Luke Donforth Contra/Becket-CW A1 ----------- (8) Men allemande Left 1-1/2 (8) Neighbor allemande Right 1-1/2 A2 ----------- (8) Women allemande Left 1-1/2 (2) Women scoop partner for short star promenade (6) Gents immediately hook right elbow with new gent (ladies let go), promenade 1/4 and butterfly whirl with partner (on home side, progressed) B1 ----------- (16) Hey, women passing left shoulders B2 ----------- (16) Partner gypsy and swing The odd thing that's (to me) evocative of the previous name debate is the butterfly whirl. If the woman is on the left of her partner, but still moving forward, is it a butterfly whirl? Or some other species of lepidoptera? I'll admit, I tend to use butterfly whirl for any instance of side-by-side, facing same direction, both folks' close arm around around other's back, one person moving forward one person backing up couples turn in place but change facing. But possibly I'm short-changing the extensive taxonomy of Insecta. Think of all the variants we could come up with if we branched into beetles! Joking aside, I hope folks find the dance programatically useful and enjoyable. I think contra dancing and calling is an organic process, and some variation in naming, calling, and styles is healthy and fun. I don't have different names for heys depending on larks or ravens start, or by which shoulder they start, but do use swat the flea to differentiate from box the gnat. But in either case I teach what I want to happen in the move. Take care, -- Luke Donforth Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>

10 years

Re: [Callers] Having settled the geography debate, lets move on to entomology

by Neal Schlein via Callers

Funnily enough, I wrote a dance years ago called Crickets Contra. It uses the same progression method (ladies turn, pick up the men, men hook and go 3/4 before whirling)---but its in reverse hands from yours. Taking your joke seriously, I'm not certain about women/men on reversed sides, but there was a differentiation in some communities between ladies wheeling forward and backward for a standard couple. Learned that from Larry Edelman, although I don't recall the other term. Neal Sent from my T-Mobile 4G LTE Device <div>-------- Original message --------</div><div>From: Luke Donforth via Callers <callers(a)lists.sharedweight.net> </div><div>Date:06/20/2015 9:42 AM (GMT-06:00) </div><div>To: Caller's discussion list <callers(a)sharedweight.net> </div><div>Cc: </div><div>Subject: [Callers] Having settled the geography debate, lets move on to entomology </div><div> </div>The recent discussion about California versus Nevada twirls and all the related variants suddenly flashed through my mind when I was writing this dance: Whipped Butter by Luke Donforth Contra/Becket-CW A1 ----------- (8) Men allemande Left 1-1/2 (8) Neighbor allemande Right 1-1/2 A2 ----------- (8) Women allemande Left 1-1/2 (2) Women scoop partner for short star promenade (6) Gents immediately hook right elbow with new gent (ladies let go), promenade 1/4 and butterfly whirl with partner (on home side, progressed) B1 ----------- (16) Hey, women passing left shoulders B2 ----------- (16) Partner gypsy and swing The odd thing that's (to me) evocative of the previous name debate is the butterfly whirl. If the woman is on the left of her partner, but still moving forward, is it a butterfly whirl? Or some other species of lepidoptera? I'll admit, I tend to use butterfly whirl for any instance of side-by-side, facing same direction, both folks' close arm around around other's back, one person moving forward one person backing up couples turn in place but change facing. But possibly I'm short-changing the extensive taxonomy of Insecta. Think of all the variants we could come up with if we branched into beetles! Joking aside, I hope folks find the dance programatically useful and enjoyable. I think contra dancing and calling is an organic process, and some variation in naming, calling, and styles is healthy and fun. I don't have different names for heys depending on larks or ravens start, or by which shoulder they start, but do use swat the flea to differentiate from box the gnat. But in either case I teach what I want to happen in the move. Take care, -- Luke Donforth Luke.Donforth(a)gmail.com

10 years

Re: [Callers] How to Describe a Ricochet Hey

by John Sweeney via Callers

If "a picture is worth a thousand words" then a demo must be worth even more. Of course you should do demos if they help. Demonstration is one of the oldest ways of teaching contra dances. When contra dances were first recorded in the 1650s, demonstration was generally the ONLY way of teaching. You made up contra lines, the music started, and the top couple danced the dance without a call with the second couple while everyone else watched the demonstration. In those dances the #1s were often a lot more active than the #2s so the #2s just followed the #1s. The #1s moved down and danced the dance with the #3s while the #2s watched. The #1s moved down and danced with the #4s while the #2s started dancing with the #3s, and so on down the set. There was no calling. Everything was learnt by watching the dancers. (Just in case anyone thinks that they didn't contra dance in 1650: "The term "Country Dance" is the one invariably used in all books on dancing that have been published in England during the last three centuries, while all works issued in France within the same period employ the term Contra Dance, or in French "Contre Danse". As the authority is equally good in both cases, either term is therefore correct. The Country or Contra Dance has been one of the most popular amusements in the British Isles, France, and other continental countries from time immemorial." Howe, 1858) So, yes, demonstration is one of the key ways to teach a Ricochet Hey, and I use it whenever necessary. In response to some of the amusing comments about my insight that a Ricochet Hey follows the same path as a Mad Robin: - I would never teach it solely by saying that it is like a Mad Robin. - If you know that most of the dancers do know a Mad Robin, then I believe it could be useful. - If you plan your programme for the session so that you do a dance with a Mad Robin, then later on do a dance with a Ricochet Hey, then telling the dancers to follow the same path could help. - Even if you don't want to have anything to do with Mad Robins, you can still use the techniques for teaching a Mad Robin to teach a Ricochet Hey. Many callers teach a Mad Robin by getting the dancers to do a Dosido and then explain that they need to follow the same path while looking at their opposite. The same technique could be used for the Ricochet Hey. Two of the main challenges I have found with the Ricochet Hey is that people either cross the set (as they are fooled by the word "Hey" in the name!) or they stop moving when they are at the back. Building the Ricochet Hey movement on top of a Dosido movement will help to reinforce these two key elements of the move. Of course you would have to be careful using the comparison of the move to a Mad Robin if you were working with ECD dancers, since they might know the original Mad Robin which is a different move! :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

10 years

Re: [Callers] How to Describe a Ricochet Hey

by Neal Schlein via Callers

Sure, there are lots of good teaching reasons to demonstrate a move--and we all use them during a lesson. But there are also reasons not to, and that is one of the ways a workshop is different from a walk-through. Demos are perfect for workshops and OK for beginner lessons. Workshops are usually smaller than a regular dance, with people who came explicitly to learn or practice a skill. The size makes it easier for them all to see what you want them to, you are trying to teach specific things, and they don't mind being pulled out of formation for a teaching point. At a regular dance demos are usually not ideal on those fronts, along with a few others. You can't control who or what people decide to watch and learn, and there is the potential for embarrassment of or errors among your demonstrating set. If one of them doesn't know the figure, you will have to talk it through to the demonstrators in order to help them not teach the wrong thing; if they do know it, they may decide to show off and cause confusion. Still, saying it is "failure as a caller" to have used a demo is absurd; sometimes that is the best way to communicate complex info, or if people just aren't "getting it". They just need to be used sparingly. Neal Sent from my T-Mobile 4G LTE Device <div>-------- Original message --------</div><div>From: Tom Hinds via Callers <callers(a)lists.sharedweight.net> </div><div>Date:06/19/2015 6:04 AM (GMT-06:00) </div><div>To: Michael Fuerst <mjerryfuerst(a)yahoo.com> </div><div>Cc: callers(a)lists.sharedweight.net, John Sweeney <info(a)contrafusion.co.uk>, callers-request(a)lists.sharedweight.net </div><div>Subject: Re: [Callers] How to Describe a Ricochet Hey </div><div> </div>I'm asking myself why not demo a ricochet? In my mind there are some advantages to demonstrating a move instead of describing it (or doing both with a wireless mic). My experience is most contra callers are highly educated and have exceptional verbal skills. Maybe some callers don't value a good demonstration. Or is a demonstration too beneath some of us? One of my calling students told me that I failed as a caller because I demonstrated a move. My own view is that watching and learning is an integral part of being human. We could make a long list of older skills (like hunting) or newer ones like learning to play a musical instrument where watching and imitating is the key to learning. I recently took an informal workshop on dance history. The teachers pointed out that when people watch something, appropriate synapses fire in preparation for performing a task. This physiological response helps the person actually learn a task better. T _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

10 years

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